In Camera Proceedings is an intervention that challenges Googles Earth`s practice of scanning, modelling and storing our world. Google’s process involves a combination of aircraft imagery and satellite photos. These are pushed through image analysis and photogrammetry softwares that reconstruct 3D models of the area photographed. The 3D models created are stored on Google’s servers, they are not available for download. Our cities have been modelled digitised and then locked away. Google`s algorithms erase all inhabitants from these models. The digital world is not meant for human habitation. We can not change it edit it, or rebuild it. We can only passively observe.
In Camera Proceedings challenges this. It does not accept Google`s policy. The work visualises the technical process of taking back our space, it`s a tutorial in how to take back our virtual world.
A virtual drone is programmed to fly through Google Earth taking hundreds of pictures of the digital terrain. These photos are then run through the same algorithms as the images taken by Google`s aircraft. We scan the scan and then upload it to a server where any one can download it, own it and change it.

Jack Wolf is a media artist working with new and old technologies: computer games, web, film, animation, as well as print. His work examines contemporary issues such as migration, conflict, data, as well as technology itself. He holds a bachelor of arts from the University of the Arts, London, and a postgraduate degree in Art and Media from the Berlin University of Arts (UdK).
Alexander Schindler is an assistant of the Vilém Flusser Archive at the Berlin University of the Arts (UdK). He is a master student of the study program “ Communication in Social and Economic Contexts ”at the UdK, where he focuses on media studies, philosophy and lens-based media technologies. He is currently interested in (post-)photography theory, especially the “ Spatial Image”as a result of the fusion of lens-based technologies and computer generated imaging.

Jon Rafman’s Poor Magic is a vision of a post-human dystopia featuring animated 3-D bodies continuously tortured in abstract digital space. The video presents the viewer with a haunting programme of repeating motifs: a blue featureless avatar, a view from a colonoscopy, and ranks of identical figures crashing and toppling over each other, made with the help of crowd-simulation software. While a poetic lament, Poor Magic addresses the fragmented consciousness of a post-physical existence. The film shows a terrifying image of a future where all humanity is uploaded to a virtual purgatory and endlessly abused. Or perhaps it is also a brutal representation of the present moment and the effect that technology has on our flesh and psyche.

In The Watchmen, pulsating orbs, panopticons, roadside rest stops, and subterranean labyrinths confront the scope of human consequences and the entanglement of our seeking bodies. Regressions in missing time, caught in the act of captivity, confined to the carceral and perpetuated by movie sets, television sets, and alien encounters at bay. The corporeal cycle of control revolves as steadily as the sight of those who watch from above.

Fern Silva (b. 1982, USA/Portugal) is an artist who primarily works in 16mm. His films consider methods of narrative, ethnographic, and documentary filmmaking as the starting point for structural experimentation. He has created a body of film, video, and projection work that has been screened and performed at various festivals, galleries, museums and cinematheques including the Toronto, Berlin, Locarno, Rotterdam, New York, London, Melbourne, and Hong Kong International Film Festivals, Anthology Film Archives, Gene Siskel Film Center, Cinemateca Boliviana, Museum of Art Lima, Brooklyn Academy of Music, Museum of Contemporary Art Chicago, New Museum, Greater New York at MOMA P.S.1, and Cinema du Reel at the Centre Georges Pompidou. He has organized and curated screenings at venues including the Nightingale Cinema, Gallery 400, and DINCA Vision Quest in Chicago. His work has been featured in publications including Film Comment, Cinema Scope, Filmmaker Magazine, Millennium, and Senses of Cinema. He studied art and cinema at the Massachusetts College of Art and Bard College. He is Visiting Faculty at Bennington College and is based in New York.

Michiel alberts Another Gate Before the Law

Vidéo expérimentale | hdv | noir et blanc | 17:13 | 0 | 2017

Another Gate Before The Law
(HDVideo, B&W, 17m13, Michiel Alberts, 2017)
Michiel Alberts is currently working on a series of K. Films. The films relate to different short texts by F. Kafka. Michiel Alberts performs and films his actions in order to transform the stories into a visual image bringing it to current and existential scenery.
The film Another Gate Before The Law refers to the text Before the Law, by F. Kafka. The film is a dark poetic image dealing with the present state of our time and to current human conditions.

(Born The Netherlands, 1972. Lives and Works in Antwerp, Belgium.)
Michiel Alberts is a Visual artist working with the media Performance, Film and Photography. In his film works he focuses upon his performative presence, movements with duration or repetitive actions. Through the usage of single angel point, the audience is invited to experience a frozen state and relate to existential questions and human conditions. His films can be described as a still picture moving, a state of presence unresolved.
“ My physical presence functions as a performative tool to question human conditions, cosmic order, time and landscapes. Through forms of abstraction I bring my content from a specific happening, or a specific social context to a larger existential scenery."
Michiel Alberts has studied Visual Art at the H.I.S.K. institute in Antwerp and Gent (2008). He also completed a Master of Arts at Dasarts in Amsterdam (2005) and completed the Acting School of Maastricht (1997)

Noémi varga A legvidámabb barakk (The Happiest Barrack)

Doc. expérimental | 4k | couleur | 15:53 | Royaume-Uni | 2017

The Happiest Barrack is an experimental documentary, a chronicle of my maternal grandmother`s life in Soviet Hungary. It serves as a memento of times past and as a reminder of how socialism colonized the soul`s of a generation.

Noemi Varga is a filmmaker based between London and Budapest. She is a recent graduate of the Royal College of Art, where she specialised in Moving Image. Her work is mainly preoccupied with exploring the boundaries of conventional documentary filmmaking, applying the tools of cinematic storytelling to all her subjects.

Anna Ådahl Default Character

Vidéo | hdv | couleur | 13:32 | Suède | 2016

The film Default Character focuses on the vocabulary, tools and human representation of the softwares proposing and tracking the crowds behaviour, adressing the impact of how default settings produces an image of the algorithmically programmed human body.
The film include images from online tutorials of crowd simulation programs ,human tracking devices and newly shot scenes (performed by dancer Pelle Andersson).
The featured examples given by these tutorials and showreels are perfectly coordinated swarms, mass body crushes, camp sites and religious gatherings such as the Hadj in Mecka.
Crowd simulations which are mainly used for crowd management and Hollywood production use a multi-agent simulation framework which is a computational methodology that allows building an artificial environment populated with autonomous agents which are capable of interacting with each other.
The human tracking devices, track, study and accumulate statistics on our collective behaviour, while the crowd simulation proposes it.
The voice over in the film, interlaces the tutors voice of informative instructions from the software tutorials with the artistÂ´s personal voice and commentaries.

Anna Adahl is an artist and researcher working in various mediums such as film, installations and performance. She uses the tools of assemblage and montage where found footage meets newly shot images and where ready-mades are used as props in spatial narratives.
Her ongoing Fine Art practice-based PhD at the Royal College of Art in London, UK, adresses the aesthetics and politics of crowd simulations analyses, using the physical body as tool and reference, the identity and human representation in crowds generated and supervised by new computational technologies.
Her works has been exhibited and presented internationally and she is also a member of the editorial team of OEI magazine.

A day during autumn, Krakow, Poland. I looked at the hedge and at one moment, suddenly, I felt the need to throw myself at him. It was a need dictated strictly by kinesthetic experience. A whim of immersion in the thicket that will absorb me into its lumps.
Then it becomes a habit.

Piotr Urbaniec, born 1992 in Krakow. A graduate of the Academy of Fine Arts in Warsaw. He completed his master at the Studio of Spatial Activities (supervisor: prof. Miroslaw Balka). He did his BA at the Transmedia Studio at the Academy of Fine Arts in Krakow (supervisor: dr Bogdan Achimescu). In 2016, he held a residency organized by Residency Unlimited in New York as part of the 1st prize in the "Artistic Journey of Hestia" competition. He won the main prize of the Video Art Festival In Out 2016. In 2014 he won the Grand Prix in the Young Wolves competition. Winner of the Krakow City Art Scholarship. He presented his works at numerous group shows and film screenings in Poland and abroad. In 2016, he was invited by the CCA Ujazdowski Castle to organize an individual exhibition as part of Project Room project.

Ikuru kuwajima City of Transformers

Vidéo expérimentale | hdv | couleur | 3:39 | Russie | 2016

The project is about the transforming cityscape of Kazan, the millennium old capital of the Republic of Tatarstan in Russia. With the brand-new buildings and anime costume characters “ Transformers ”, I visualized my impression of this fast-growing modern multicultural city, located in the middle Volga, about 600 km east from Moscow.
In Kazan, newcomers would soon notice the futuristic bizarre architecture scattered around the city’s center. Those buildings are somewhat reminiscent of the contemporary but ambiguous glittering architecture in Kazakhstan’s capital Astana and Turkmenistan’s capital Ashgabat in Central Asia. In Kazan’s city center, visitors would also notice awkward-looking costume characters like ones from American-Japanese robot anime “ Transformers ” giving out leaflets or getting pictures taken with kids for money. Kazan is home to Tatars, a predominantly-Islam Turkic people, but it is more complex and unique, as Tatar, Russian and Soviet cultures have been intertwined in the past centuries there. Now, western capitalism gets mixed with this cultural melting pot, bringing even “ Transformers ”to the city and turning parts of the cityscape a little Disneylandish.
Kazan is still in the process of this intricate transformation. This project demonstrates my vision of this transforming multicultural city located near the edge of geographical Europe.

After growing up in Japan, studying in journalism in the University of Missouri, Columbia, and living in Romania for a year, Ikuru Kuwajima has been living and working on visual documentary and art projects mainly with photography in various post-Soviet countries (Ukraine, Kyrgyzstan, Kazakhstan and Russia) in the past 10 years. After three years in Kazan, he now lives in Moscow, Russia, continuing personal projects. His artist books “ Tundra Kids ” and “ Oblomov ” were published in Vienna in 2015 and in Moscow in 2017, respectably.

Arianne olthaar Gesamtschule

Film expérimental | 16mm | couleur | 5:23 | Pays-Bas | 2016

Images of a comprehensive school in West Germany that was built between 1972 and 1978. At the time it was very modern and progressive, both in the way of its education as well in its interior design. An example is the integrated disco in the cellar where up untill today schoolchildren can dance during their lunch break.

Arianne Olthaar (1970, Netherlands) is making experimental films, photographs and miniature models. Her work has a strong focus on the once-luxurious interiors of public spaces that were built in the 1970s and 80s, such as primate enclosures, dining cars, hotel nightclubs, discotheques, a school interior. Interiors that once represented an explicit modern luxury but nowadays have an aura of faded glory and are increasingly disappearing by renovation or demolishment.
Her work has been presented in a variety of exhibitions as well as numerous international film festivals, including Cinematexas; Media City Film and Video Festival, Windsor; International Short Film Festival Oberhausen; EMAF OsnabrÃ¼ck; New York Film Festival; Onion City Experimental Film and Video Festival, Chicago; VIDEOEX; ZÃ¼rich, International Film Festival Rotterdam; Rencontres Internationales, Paris/Berlin.

"Due" was shot in Milano 2, a residential neighbourhood located just outside Milano.
Built as a utopian city between 1970 and 1979, Milano 2 was Silvio Berlusconi`s first ambitious project. It was in Milano 2 that TeleMilano, the first private Italian TV channel, started to broadcast, which made the area the bridgehead of the media and, later, political empire of Berlusconi.
Milano 2, which nowadays may seem an ordinary suburban area, has functioned as a laboratory for a form-of-life which, in the decades of the Berlusconismo’s, spread nationally and left a long-lasting mark on Italian culture.
The film includes an interview with Enrico Hoffer, the architect that designed the landscaping of the neighbourhood, as well as fragments from a 1974 publicity brochure advertising the real estate project.

Riccardo Giacconi has studied fine arts at the University IUAV of Venezia, at UWE in Bristol and at New York University. His work has been exhibited in various institutions, such as ar/ge kunst (Bolzano), MAC (Belfast), WUK Kunsthalle Exnergasse (Vienna), FRAC Champagne-Ardenne (Reims), tranzitdisplay (Prague), MAXXI (Rome), Fondazione Sandretto Re Rebaudengo (Turin). He was artist-in-residence at: Centre international d`art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome and La Box (Bourges). In 2016 he was awarded the ArteVisione video production prize, curated by Sky Arte and Careof. He presented his films at several festivals, including the New York Film Festival, the Venice International Film Festival, the International Film Festival Rotterdam, the Rome Film Festival, the Torino Film Festival, Visions du Réel and the FID Marseille International Film Festival, where he won the Grand Prix of the international competition in 2015. In 2007 he co-founded the collective Blauer Hase, with which he curates the periodical publication “Paesaggio” and the “Helicotrema” festival.

Stephen connolly Machine Space

Doc. expérimental | hdv | couleur et n&b | 37:14 | Royaume-Uni | 2017

Machine Space is an essay film exploring a city as a machine; a place of movement and circulation. Using a kinetic approach, issues of space, race and finance frame the city of Machine Space. Residents in voice over testify how the city as a spatial and financial machine shapes their experience. The city is Detroit, a place that has changed from producing the means of movement to producing space itself.

Stephen Connolly is an artist filmmaker currently teaching Film at the University for the Creative Arts. His practice as research doctorate, entitled The Spatial Cinema, is the culmination of many years of moving image research into the negotiation of space and the material environment through film. His work has been shown in film and media festivals worldwide since 2004. He has been the recipient of prestigious production grants from FLAMIN and the Arts Council.

Claudia hill, Stephane Leonard Kon'voi'

Vidéo expérimentale | 4k | couleur | 9:23 | Allemagne | 2017

A group of travellers of unknown origin arrive out of nowhere into an open landscape.
Over the course of a day, they explore and scan the environment with their unique handmade triangular antennae.
Through their sensual decoding of information and hypnotic choreography of sign language, a necessity of care for this strange and beautiful planet emerges.

Claudia Hill is a Berlin-based cross-disciplinary artist who makes objects that create possibilities for personal encounters and community. Hill’s work developed from a career in fashion presenting her collections between New York and Japan. As her designs expanded beyond the boundaries of the industry, she made costumes for choreographer William Forsythe, The Wooster Group, and became a frequent collaborator with choreographer Meg Stuart.
Her interventions range from performative designs to constructing large scale, textile based sculptures, and conceiving participatory actions for art centers such as Centre Pompidou Paris, and ZKM Center for Art and Media, Karlsruhe. Hill’s own artist film Kon’voi’ has been presented in several international film festivals. She is currently developing new work for Supernova, an artist group formed around Damaged Goods´ Sketches/Notebook (extended version) for the HAU Berlin 2018 season.

The film is a journey of tracing the former Baltic Exchange´s building. 1903 it was built in neoclassical Edwardian style in the centre of London and 1992 destroyed by Provisional IRA´s biggest car bomb to the date.
After the bombing there were plans to attach parts of Baltic Exchange´s house to a new building in the same location. Before dismantling it was fully documented and catalogued. These plans never materialized and in 2006 two estonian businessmen bought the facade and parts of the trade hall wanting it to be rebuilt in Tallinn. The stones were sent to Estonia, where they have stayed in shipping containers over 10 years (with the exeption of the facade sculptures, which were used in a project by estonian architects and artist in 2016).
After the real estates developers won dispute with conservationists Foster and Partners iconic “ Gherkin ” - Swiss Re-s building has been constructed in the former Baltic Exchange´s site. Tracing the stones and the story of former building, in Estonia and London, leads to unpredictable outcomes. For example, terrorist attack being economic consideration; real estate boom in London; redesign of city space by incorporating anti attack measures.

The work of visual artist Ivar VeermÃ¤e (born 1982 in Tallinn, Estonia; lives in Berlin) circles around questions of public and private space, mediation processes, architecture and infrastructure, information technology and networks. As a result of long-term artistic research by means of photography, film and sound, his works are presented in versatile ways (such as video, on-site installations, interactive works and performances, also in public space).
Ivar VeermÃ¤e aims to document and analyze the infrastructure underlying our contemporary culture of data and information. Concentrating on physical and local presence, confronting it with its representations creates a possibility for questions and doubts. His interest lays in hidden or stealty qualities of various spaces and objects.
He has had solo exhibitions in Edith-Russ-Haus, Oldenburg, Gallery im Turm, Berlin, Freies Museum Berlin, City Gallery of Tallinn and Hobusepea Gallery in Estonia, among others. His work has been exhibited in group exhibitions at transmediale Festival in HKW, Venice Architecture Biennale, Athens Digital Arts Festival, Moscow Biennale for Young Art, the Bozar in Brussels, the CNB ContemporÃ¡nea in Buenos Aires, the Zentrum fÃ¼r Kunst und Urbanistic, Forum Factory and Kleine Humboldt Gallery in Berlin, the Art Museum of Estonia, Art Hall of Tallinn, the Estonian Contemporary Art Museum, the Latvian Centre for Contemporary Art, the Kulturhuset Bronden in Denmark, the Old Sugar Factory in Groningen, the Kunstverein Wolfsburg, the Kunstverein Kassel, the Pinnacles Gallery in Australia.

Søren thilo funder Swerve (You’re Gonna Die Up There)

Vidéo | hdv | | 10:0 | Danemark | 2017

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Soren Thilo Funder’s works are carefully crafted cinematic mash-ups of diverse cultural fields and social histories. They serve as formal investigations into the power relations of modern day society and the truisms of written and unwritten history. Proposing new connections between historical, cultural and political matter, they open up new potential spaces ? third places ? for political contemplation and counter-memory.

Edward akrout, Jakob S. Boeskov Quantum Political Feedback

Vidéo expérimentale | hdv | couleur | 8:0 | Royaume-Uni | 2017

In the video, the artists combine pseudoscience with repetition to
investigate the connection between technology and truth.
An E-meter device was exploited as a crude polygraph machine. Its
pseudoscientific function is to "detect lies" in order to monitor a
statement`s progression from lie to truth.
Statements were read to and repeated by the participants. Through
continuous repetition, the subjects built a relationship with the spoken
words, which over time, matured into experiences and finally beliefs.
All of the combined elements resulted in mettre en abÃ®me the transformation of a political affirmation into a belief.

Edward Akrout is a Franco-British artist that works between London, New York
and Paris. His practice, which largely includes painting, drawing and
sculpting, is best described as abstract expressionism.
Personal website: EdwardAkrout.com
Representation: Lahd Gallery
Jakob Boeskov is a Danish-Icelandic artist and filmmaker that works between New York and Copenhagen. Having graduated from The Royal Danish Academy of Fine Arts, his pieces have been shown in museums such as
New Museum, Science Politiques, Moscow State Academy Art Institute
and the Stedelijk Museum.
Personal website: JakobBoeskov.com
Representation: The Scandinavian Institute

George drivas Laboratory of Dilemmas

Vidéo | 4k | couleur | 10:38 | Grèce | 2017

Laboratory of Dilemmas is a narrative video installation based on Aeschylus’ theatre play Iketides (Suppliant Women), which poses a dilemma between saving the Foreigner and maintaining the safety of the Native. Addressing current global sociopolitical issues, the work deals with the anguish, puzzlement, and confusion of individuals and social groups when called upon to address similar dilemmas.
Aeschylus’ Iketides (Suppliant Women) is the first literary text in history that raises the issue of a persecuted group of people seeking for asylum.
The Suppliants have left Egypt to avoid having to marry their first cousins and arrive at Argos seeking asylum from the King of the city. The King is then faced with a dilemma. If he helps the foreign women, he risks causing turmoil among his people and going to war with the Egyptians, who are after the Suppliants. But if he doesn’t help them, he will break the sacred laws of Hospitality and violate the principles of Law and Humanism, leaving the Suppliants to the mercy of their pursuers.
Laboratory of Dilemmas focuses on the play’s dilemma through the excerpts of an unfinished documentary in the form of found footage about a scientific experiment.
This experiment was never completed for unknown reasons, however the found excerpts of the unfinished documentary reveal today, after so many years, details of the experiment, as well as the hopes of the professor who envisioned it and the disagreements with his co-researchers.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. In the past twenty years he has produced a large body of short-to-medium format films that have been exhibited internationally at a wide variety of venues and festivals including the Media City Festival, San Francisco International Film Festival, Rotterdam International Film Festival, New York Film Festival, Le Rencontres Internationale, Black Maria Film Festival, Nouveau Cinema in Montreal, Cinematheque Ontario, the Harvard Film Archive, Pacific Film Archive, the Paris Biennial, Slamdance Film Festival, and others. His films have won numerous festival prizes, grants, and artist’s awards. He teaches film production at Emerson College in Boston.

Matthew Verdon was born in Brisbane, Australia, and currently lives/works in London. After completing studies in agricultural science and art, he has exhibited widely both throughout the United Kingdom and internationally.

Rosa barba From Source to Poem

Film expérimental | 35mm | couleur | 12:0 | Allemagne | 2016

"From Source to Poem" is an invitation to think about the spaces in which history and cultural production is preserved in order to be passed on to future generations.
On the one hand, it pursues Barba’s research initiated with "The Hidden Conference" (2010-2015) “a three-part film work exploring museum storages and whose title refers to imaginary conversations taking place between artworks inside these invisible spaces” on the other hand, it is a reflection about the obsession of preserving any output of western culture in any possible medium.
"From Source to Poem" shifts the focus from artworks into archival storage: Shot at the National Audio-Visual Conservation Center of the Library of Congress in Culpeper, Virginia, and at an enormous solar power plant in the Mojave Desert in California, it juxtaposes images from the largest media archive worldwide with a study of rhythm, and images of cultural with those of industrial production.
The film exposes the preservation of cultural outputs, but also their digitisation for the future. A vast number of the archive’s holdings are sound material; a sonic memory which is recovered and mixed in the soundtrack as a mean to set in motion otherwise unlikely dialogues.
Filmed and screened on 35mm film, the work itself is preserved in one of the most durable archival forms.

Rosa Barba’s work is a subtle interrogation into and co-option of industrial cinema-as-subject, via various kinds of what might be understood as “stagings”—of “the local,” the non-actor, gesture, genre, information, expertise and authority, the mundane—and removals from a social realism within which they were observed, and which qualifies them as components of the work, to be framed, redesigned, represented. The effect of which her work contests and recasts truth and fiction, myth and reality, metaphor and material to a disorientating degree, which ultimately extends into a conceptual practice that also recasts the viewer’s own staging as an act of radical and exhilarating reversal – from being the receiver of an image (a subject of control) to being in and amongst its engine room/s, looking out. (Ian White)

Celebration Club (2017) is a film made over the course of one week in Northampton following the Brexit referendum.The film captures musicians of different generations and origins talking about the changing society and making music, including punk scholar Roy Wallace, rapper Phundo Art, avant-garde black metal band Denigrata and the Northampton Male Voice Choir performing Robbie William’s Angels in a local church.

Luxembourger of Polish origin, Filip Markiewicz (born in 1980) is a multidisciplinary artist expressing himself through drawing, video, music, theatre and installations thereby creating a visual body of work using diversified media.
His work is not intending to be a kind of political activism, but rather to develop an almost surreal language consolidating different expressions.
In 2015 Filip Markiewicz represented the Grand Duchy of Luxembourg at the 56th Venice Biennale with his project "Paradiso Lussemburgo". In 2017 he produced his first theater play "Fake Fiction" at the Theater Basel. In 2018, he will present his monographic exhibition "Celebration Factory" at the Casino Luxembourg - Forum d`Art Contemporain.

Johan grimonprez Raymond Tallis | On Tickling

Vidéo expérimentale | hdv | couleur | 8:0 | Pays-Bas | 2017

In this short film by Johan Grimonprez, philosopher/neurologist Raymond Tallis argues that consciousness is not an internal construct, but rather relational. Through the intriguing notion that humans are physically unable to tickle themselves, Tallis explores the philosophical notion that we become ourselves only through dialogue with others.